Everyone’s on a Mission
Marlon Fernandez-Brandwood
Thomas Tallis School
A-Level Photography
2022-23
Daido Moriyama’s comment, “Making a definitive declaration of intent or meaning kills the photograph” has resonated with me because I find that my most “meaningful” photos develop this “meaning” naturally over time, rather than through any preconception. I have also been influenced by Terence Donovan’s statement that:
“The magic of photography is metaphysical. What you see in the photograph isn't what you saw at the time. The real skill of photography is organised visual lying.”
This is relevant to my style of photography because I enjoy the post-production process and have become absorbed in today's evolving digital landscape.
In ‘Everyone’s on a Mission’ I intended to create a body of work which addresses both of these ideas through a combination of posed portraiture and photos dominated by chance.
I have been inspired by the work of Daido Moriyama, who photographed post-war Japan. His confrontational, black-and-white images depict the contrast between traditional values and modern Japanese society. Notable for his rejection of technical precision, in favour of the grainy and high-contrast images produced by a compact camera, his images have encouraged me to reflect 0n my own approach to photography.
Fig. 1. - Daido Moriyama, 1972
Figure 1 is a photo taken from Moriyama’s ‘Shinjuku’ photobook/project. I initially found his work quite challenging. I now find the freedom in his photography very interesting and it is what makes his work so iconic. Figure 1 demonstrates unusual framing and subject matter. I find it fascinating how Moriyama photographs what he sees. I have aimed to emulate aspects of his style of photography, changing from the way I instinctively lean towards capturing only more obvious scenes, to a more impulsive and imperfect style. Moriyama has been a significant influence and shaped my approach to photography and videography. His work, particularly his contributions to the PROVOKE journal and pictures of Shinjuku, has helped me question what makes a “good” photograph (something new, deeper, more personal) and reflect on my own practice.
Another artist I am very much interested in is a Japanese-American photographer/videographer named Gaku Lange, going by the name Gakuyen on social media. This is where I discovered his work. What I find fascinating about Gakuyen’s work is his ability to capture movement in his still images, and how he combines different genres of photography into one finished product. This photo (Fig. 2) is an example of his portraiture. Gakuyen shares a lot of his work on social media, and I have seen the shift in the content he creates, from primarily image slides to images combined with videos. What makes his work stand out is his ability to fluidly edit his media together to create a smooth and immersive story. He does this by taking videos of his subjects with a phone or camera and appropriately combining them with images in chronological order.
Fig. 2. - Gaku Lange
Gakuyen is based in Tokyo, Japan and shoots on both film and digital. His fascination for film is shared with many young Japanese photographers particularly in Tokyo, partly a result of the vintage film camera culture in Japan.
In Tokyo, there are a wide range of film cameras available, and a sense of nostalgia for analogue materials appeals to many young people in Japan living in a predominantly digital world. Gakuyen has taken advantage of this and made a name for himself using both digital photography/videography, and film photography, in which he combines the nostalgic film look with modern culture and settings.
Gakuyen primarily shares his work online, and he uses tiktoks and reels to share it as well as photo formats on different apps, primarily on Instagram. However, over time, he has shifted from primarily photos to videos, a response to the cultural and technological shift on social media from stills to reels. Some may view this change as a negative thing, arguing that the explosion of reels and tiktoks has made it difficult to grow as a photographer on social media. However, some have taken advantage of this shift and expanded their skills. I believe that the reason for the increase in video content is the corresponding increase in phone and camera recording capabilities. And this has offered an opportunity for many people to develop their styles by using video and new software, dramatically changing the way in which visual art is presented not only online but as a whole.
Fig. 3 - Gaku Lange, 9/9/2020
Fig. 4 - Gaku Lange, 11/11/2021
These are two images taken from his Instagram page that are both visually striking. The one on the left (Fig. 4) is a relatively simple photo without much colour, but he has made it interesting with motion blur and the low-angle framing. The image on the right (Fig. 5) shows a reflection of an already photogenic street in Tokyo. These subjects have both been photographed in ways to make them more interesting (motion blur, low angle, reflection), and they both capture movement and can be combined with other media to create a story. The photographer has begun to create reels and videos which attracted more viewers to his feed due to Instagram's algorithm change. It is also worth noting that he posts many of his stills in slides combined with quotes relevant to the type of images he posts, almost equivalent to adding music to a video.
It seems to me that these media products, that are dynamic, immersive and intensely personal, are the natural extension of the kind of work being made by an earlier generation of Japanese photographers, often referred to as the Provoke generation.
I enjoy the entire photographic process; the challenge of creating photos in difficult lighting conditions is particularly rewarding to me. I recently did a photoshoot with my friend who is a model. I took many stills and some videos and focused on using aesthetically pleasing locations and aiming to use LED and bright lighting. In post-processing, I spent hours editing the photos, making sequences and GIFs, and then the final products, which were the images for him and me, and the video sequences with both the videos and GIFs. I chose to make them because I find them entertaining and a good format in which to display my work; the shift in social media from photos to videos provoked this. The raw yet fun energy in Jamel Shabbazz’s “Back in the Days” (Fig. 5) has also inspired me to explore my own creativity in the context of my street portraiture work.
Fig. 5 - Jamel Shabbazz, Sights in the City, New York Street Photographs
Currently, I am focused on portraiture and street photography. My aim is to show the viewer something they haven't seen before and eventually create images that can be recognized as my own style. This is why the editing process in post-production is important to me and in my opinion, brings value to a photo. My aim is not to show a location as it looks straight out of the camera, but the way I choose to view and picture it in my head.
I used to take my camera everywhere with me, but I have slowly become more deliberate with my photos. I like to plan my photoshoots and have clear goals in mind before the shoot. Sometimes I create mood boards before shoots. I like working both inside and outside, however, I find that I usually work on location. For photoshoots with pressure to create consistent and high-quality images, I exercise a lot of control over the way I take photos, making sure settings, lighting, and composition are where I want them to be. In post-production, I spend hours making them all to a high standard. In contrast, if I am shooting for fun or for myself and friends I embrace mistakes and “bad” photos. Sometimes, after looking back at old photos, I find images that I really like.
Having discovered Shabbazz’s work, I reflected on how different cultures change over time and therefore how valuable photos are which encapsulate the culture of a particular time. Figure 6, for example, represents the hip hop culture of the 1980’s. I believe it is partly the duty of a photographer to preserve the culture they see around them, whether it be stylized or not. During Notting Hill Carnival, for example, I aimed to capture the energy I saw around me, inspired by Shabbazz’s practice.
I have found that the way I look at the world is heavily influenced by photography. I see cinematic scenery in everyday situations. In a recent photoshoot, I went alone to areas near Covent Garden, and photographed everything I found interesting. It felt liberating and the photos I took all came out with a common theme. The best photos all contained very contrasting elements - shadows and reflections, subjects shot through windows or lit unusually and plenty of contrast (Fig. 8).
Fig. 8 - December 6, 2022
Due to mainly using prime lenses in my photography, I have to move around a lot to frame my images as I cannot zoom in and out in camera. This has given my photography a more personal and physical side, as my body movement is part of my process of photographing. Recently, I have experimented with movement in my images, but usually, I try to keep my camera steady and move with my body so I get more steady shots. I find it especially important to do this with video. I use a digital mirrorless camera - EOS RP and usually shoot on a 50mm F1.8, so when taking photos, I tend to overshoot and shoot at high speed continuously. This helps me not miss any shots but makes the post-processing much more time-consuming. I have been practising to be more efficient with my shooting. This has made me consider using film cameras, as it will force me to be more selective.
At the start of this investigation, I made a photobook named ‘Our Perspective’, in which I aimed to focus on my own ‘perspective’, and those of my friends/people around me. I was intent on creating a series of images which shared our view of London. To this day, I believe that the theme and vision I had for the project was interesting but the execution was only partly successful. I knew it could be done better and given more meaning.
After this, I experimented during the summer with different genres of photography and eventually became interested in capturing movement, later exploring moving images in the form of videos and GIFs. This exploration into other forms of visual image eventually led to me combining these mediums into single products, which I posted as reels.
I was inspired by a range of different artists, the most influential being Gakuyen. I came up with the title ‘Everyone’s on a Mission’ to describe the running theme of my street photos, which tend to capture people doing something or going somewhere. This was a continuation of my exploration into movement in photos. The name also links to the way a viewer might experience my work, as a flowing motion from left to right.
I have enjoyed the process of making my final outcome which has involved many hours of post-production, not to mention the numerous photo shoots that generated the source images. I hope that my work communicates something of the energy, dynamism and intensely personal and subjective viewpoint that has inspired me in the work of other photographers. In a sense, I have also been “on a mission”.
Bibliography
http://photoquotations.com/a/482/Daido+Moriyama
http://www.photoquotations.com/a/202/Terence+Donovan
https://www.moriyamadaido.com/en/
https://www.instagram.com/p/CkZNjRNydwg/?utm_source=ig_web_copy_link
https://www.vogue.com/article/jamel-shabazz-new-york-street-photography-book-sights-in-the-city
Marlon Fernandez-Brandwood
Thomas Tallis School
A-Level Photography
2022-23
Daido Moriyama’s comment, “Making a definitive declaration of intent or meaning kills the photograph” has resonated with me because I find that my most “meaningful” photos develop this “meaning” naturally over time, rather than through any preconception. I have also been influenced by Terence Donovan’s statement that:
“The magic of photography is metaphysical. What you see in the photograph isn't what you saw at the time. The real skill of photography is organised visual lying.”
This is relevant to my style of photography because I enjoy the post-production process and have become absorbed in today's evolving digital landscape.
In ‘Everyone’s on a Mission’ I intended to create a body of work which addresses both of these ideas through a combination of posed portraiture and photos dominated by chance.
I have been inspired by the work of Daido Moriyama, who photographed post-war Japan. His confrontational, black-and-white images depict the contrast between traditional values and modern Japanese society. Notable for his rejection of technical precision, in favour of the grainy and high-contrast images produced by a compact camera, his images have encouraged me to reflect 0n my own approach to photography.
Fig. 1. - Daido Moriyama, 1972
Figure 1 is a photo taken from Moriyama’s ‘Shinjuku’ photobook/project. I initially found his work quite challenging. I now find the freedom in his photography very interesting and it is what makes his work so iconic. Figure 1 demonstrates unusual framing and subject matter. I find it fascinating how Moriyama photographs what he sees. I have aimed to emulate aspects of his style of photography, changing from the way I instinctively lean towards capturing only more obvious scenes, to a more impulsive and imperfect style. Moriyama has been a significant influence and shaped my approach to photography and videography. His work, particularly his contributions to the PROVOKE journal and pictures of Shinjuku, has helped me question what makes a “good” photograph (something new, deeper, more personal) and reflect on my own practice.
Another artist I am very much interested in is a Japanese-American photographer/videographer named Gaku Lange, going by the name Gakuyen on social media. This is where I discovered his work. What I find fascinating about Gakuyen’s work is his ability to capture movement in his still images, and how he combines different genres of photography into one finished product. This photo (Fig. 2) is an example of his portraiture. Gakuyen shares a lot of his work on social media, and I have seen the shift in the content he creates, from primarily image slides to images combined with videos. What makes his work stand out is his ability to fluidly edit his media together to create a smooth and immersive story. He does this by taking videos of his subjects with a phone or camera and appropriately combining them with images in chronological order.
Fig. 2. - Gaku Lange
Gakuyen is based in Tokyo, Japan and shoots on both film and digital. His fascination for film is shared with many young Japanese photographers particularly in Tokyo, partly a result of the vintage film camera culture in Japan.
In Tokyo, there are a wide range of film cameras available, and a sense of nostalgia for analogue materials appeals to many young people in Japan living in a predominantly digital world. Gakuyen has taken advantage of this and made a name for himself using both digital photography/videography, and film photography, in which he combines the nostalgic film look with modern culture and settings.
Gakuyen primarily shares his work online, and he uses tiktoks and reels to share it as well as photo formats on different apps, primarily on Instagram. However, over time, he has shifted from primarily photos to videos, a response to the cultural and technological shift on social media from stills to reels. Some may view this change as a negative thing, arguing that the explosion of reels and tiktoks has made it difficult to grow as a photographer on social media. However, some have taken advantage of this shift and expanded their skills. I believe that the reason for the increase in video content is the corresponding increase in phone and camera recording capabilities. And this has offered an opportunity for many people to develop their styles by using video and new software, dramatically changing the way in which visual art is presented not only online but as a whole.
Fig. 3 - Gaku Lange, 9/9/2020
Fig. 4 - Gaku Lange, 11/11/2021
These are two images taken from his Instagram page that are both visually striking. The one on the left (Fig. 4) is a relatively simple photo without much colour, but he has made it interesting with motion blur and the low-angle framing. The image on the right (Fig. 5) shows a reflection of an already photogenic street in Tokyo. These subjects have both been photographed in ways to make them more interesting (motion blur, low angle, reflection), and they both capture movement and can be combined with other media to create a story. The photographer has begun to create reels and videos which attracted more viewers to his feed due to Instagram's algorithm change. It is also worth noting that he posts many of his stills in slides combined with quotes relevant to the type of images he posts, almost equivalent to adding music to a video.
It seems to me that these media products, that are dynamic, immersive and intensely personal, are the natural extension of the kind of work being made by an earlier generation of Japanese photographers, often referred to as the Provoke generation.
I enjoy the entire photographic process; the challenge of creating photos in difficult lighting conditions is particularly rewarding to me. I recently did a photoshoot with my friend who is a model. I took many stills and some videos and focused on using aesthetically pleasing locations and aiming to use LED and bright lighting. In post-processing, I spent hours editing the photos, making sequences and GIFs, and then the final products, which were the images for him and me, and the video sequences with both the videos and GIFs. I chose to make them because I find them entertaining and a good format in which to display my work; the shift in social media from photos to videos provoked this. The raw yet fun energy in Jamel Shabbazz’s “Back in the Days” (Fig. 5) has also inspired me to explore my own creativity in the context of my street portraiture work.
Fig. 5 - Jamel Shabbazz, Sights in the City, New York Street Photographs
Currently, I am focused on portraiture and street photography. My aim is to show the viewer something they haven't seen before and eventually create images that can be recognized as my own style. This is why the editing process in post-production is important to me and in my opinion, brings value to a photo. My aim is not to show a location as it looks straight out of the camera, but the way I choose to view and picture it in my head.
I used to take my camera everywhere with me, but I have slowly become more deliberate with my photos. I like to plan my photoshoots and have clear goals in mind before the shoot. Sometimes I create mood boards before shoots. I like working both inside and outside, however, I find that I usually work on location. For photoshoots with pressure to create consistent and high-quality images, I exercise a lot of control over the way I take photos, making sure settings, lighting, and composition are where I want them to be. In post-production, I spend hours making them all to a high standard. In contrast, if I am shooting for fun or for myself and friends I embrace mistakes and “bad” photos. Sometimes, after looking back at old photos, I find images that I really like.
Having discovered Shabbazz’s work, I reflected on how different cultures change over time and therefore how valuable photos are which encapsulate the culture of a particular time. Figure 6, for example, represents the hip hop culture of the 1980’s. I believe it is partly the duty of a photographer to preserve the culture they see around them, whether it be stylized or not. During Notting Hill Carnival, for example, I aimed to capture the energy I saw around me, inspired by Shabbazz’s practice.
I have found that the way I look at the world is heavily influenced by photography. I see cinematic scenery in everyday situations. In a recent photoshoot, I went alone to areas near Covent Garden, and photographed everything I found interesting. It felt liberating and the photos I took all came out with a common theme. The best photos all contained very contrasting elements - shadows and reflections, subjects shot through windows or lit unusually and plenty of contrast (Fig. 8).
Fig. 8 - December 6, 2022
Due to mainly using prime lenses in my photography, I have to move around a lot to frame my images as I cannot zoom in and out in camera. This has given my photography a more personal and physical side, as my body movement is part of my process of photographing. Recently, I have experimented with movement in my images, but usually, I try to keep my camera steady and move with my body so I get more steady shots. I find it especially important to do this with video. I use a digital mirrorless camera - EOS RP and usually shoot on a 50mm F1.8, so when taking photos, I tend to overshoot and shoot at high speed continuously. This helps me not miss any shots but makes the post-processing much more time-consuming. I have been practising to be more efficient with my shooting. This has made me consider using film cameras, as it will force me to be more selective.
At the start of this investigation, I made a photobook named ‘Our Perspective’, in which I aimed to focus on my own ‘perspective’, and those of my friends/people around me. I was intent on creating a series of images which shared our view of London. To this day, I believe that the theme and vision I had for the project was interesting but the execution was only partly successful. I knew it could be done better and given more meaning.
After this, I experimented during the summer with different genres of photography and eventually became interested in capturing movement, later exploring moving images in the form of videos and GIFs. This exploration into other forms of visual image eventually led to me combining these mediums into single products, which I posted as reels.
I was inspired by a range of different artists, the most influential being Gakuyen. I came up with the title ‘Everyone’s on a Mission’ to describe the running theme of my street photos, which tend to capture people doing something or going somewhere. This was a continuation of my exploration into movement in photos. The name also links to the way a viewer might experience my work, as a flowing motion from left to right.
I have enjoyed the process of making my final outcome which has involved many hours of post-production, not to mention the numerous photo shoots that generated the source images. I hope that my work communicates something of the energy, dynamism and intensely personal and subjective viewpoint that has inspired me in the work of other photographers. In a sense, I have also been “on a mission”.
Bibliography
http://photoquotations.com/a/482/Daido+Moriyama
http://www.photoquotations.com/a/202/Terence+Donovan
https://www.moriyamadaido.com/en/
https://www.instagram.com/p/CkZNjRNydwg/?utm_source=ig_web_copy_link
https://www.vogue.com/article/jamel-shabazz-new-york-street-photography-book-sights-in-the-city